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      An Eerie, Fairytale Forest and Silhouette Creatures Sprawl Across a Three-Story Mural by David de la Mano

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      Art

      #animals
      #forest
      #murals
      #narrative
      #night
      #silhouettes

      September 30, 2021
      Grace Ebert

      All images by Sol Paperán, Nicolás Pezzino and David de la Mano, courtesy of David de la Mano
      Set against a forest in shades of blue and white, a dark, twisted fairytale lines the entrance hall of the Catholic University of Uruguay. The three-story mural by David de la Mano is titled “Cosmos” and uses the Spanish artist’s signature silhouette figures and thin, branch-like lines to create a sinister narrative consumed by mystery and disorder: hybrid creatures escape down a stairwell, an army marches along the balcony, and myriad characters twist and flail in chaotic clusters.
      Completed with the assistance of artist Andrés Cocco, the large-scale piece is derived from the shared etymological root of “university” and “universe,” which means a totality or everything that exists. “Cosmos” evokes Fernando Gallego’s 15th-Century painting of constellations and the zodiac that once cloaked a vaulted ceiling at the University of Salamanca library in de la Mano’s hometown, although this new iteration is devoid of stars. “It is a work full of mystery… There is my own iconography. There is the idea of ​​migration, a constant in my work from years ago,” the artist says in a statement. “The stars were replaced by two forests. There is a dark forest that does not let you see, and there is a clear forest in which the light comes.”
      After spending years in Uruguay, de la Mano is back in Salamanca, and you can follow his works on Instagram.

      #animals
      #forest
      #murals
      #narrative
      #night
      #silhouettes

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      Teeming with Flourishes, Narrative Sculptures by Amber Cowan Revitalize Vintage Pressed Glass

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      Art

      #found objects
      #glass
      #narrative
      #sculpture

      December 23, 2020
      Grace Ebert

      “Bridesmaid Returns to the Shore of Her Full Moon” (2019), glass and mixed media, 23 x 22 x 9.5. Photo by Matthew Hollerbush. All images © Amber Cowan, shared with permission
      The monochromatic assemblages of Amber Cowan (previously) are at once domestic narratives and homages to an abandoned industry. Delicate baubles frame a central figure or scene that the Philadelphia-based artist illustrates with scraps of pressed glass. Whether focused on a lone bridesmaid or a hen hoarding eggs, Cowan’s works explore the feminine experience through themes of “loneliness, the search for meaning, the search for love, and the following of symbolism in the mundane.”
      Cowan shops at antique stores and markets for materials, although she more frequently scours scrapyards around the country for discarded bits of glass, which are known as cullets. As a whole, the now-defunct industry was booming from the mid-1800s before it dropped off during the 20th Century. “Nowadays, this material is out of fashion and relegated to the dustbin of American design,” the artist writes, noting that she often finds masses of historic hues at the scrapyards. “These barrels of color are often the last of their run, and my work will essentially give the formulas their final resting place and visually abundant celebration of life.”
      Some of Cowan’s work is included in the recently published book, Objects: USA 2020. If you’re in New York, her piece “Dance of the Pacific Coast Highway at Sunset” is permanently on view at The Museum of Arts and Design, and she’s also part of an upcoming group exhibition at R & Co. Gallery. Until then, explore more of her textured sculptures on her site and Instagram.

      “Young Love Resting in Gray Meadow” (2019), glass and mixed media, 22 x 19 x 11 inches. Photo by Matthew Hollerbush
      “Nautilus in Crown Tuscan” (2019), glass and mixed media, 8 x 4 x 12 inches. Photo by Matthew Hollerbush
      “Hen Collecting All of Her Ova” (2020), glass and mixed media, 18 x 20 x 9 inches. Photo by Constance Mensh
      Detail of “Bridesmaid Returns to the Shore of Her Full Moon” (2019), glass and mixed media, 23 x 22 x 9.5. Photo by Matthew Hollerbush
      “Snail Passing Through the Garden of Inanna” (2019), glass and mixed media, 22 x 19.5 x 10.5. Photo by Matthew Hollerbush
      “Dance of the Pacific Coast Highway at Sunset” (2019), glass and mixed media, 34 x 46 x 12.5 inches. Photo by Constance Mensh
      “Hen Collecting All of Her Ova” (2020), glass and mixed media, 18 x 20 x 9 inches. Photo by Constance Mensh
      “Bubble Bath in the Tunnel of Love” (2020), glass and mixed media, 25 x 25 x 15 inches. Photo by Constance Mensh

      #found objects
      #glass
      #narrative
      #sculpture

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      Spirited Narratives Drive Whimsical, Patterned Paintings by Monica Rohan

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       “Kate, awkward” (2015), oil on board, 31 1/2 × 23 3/5 inches. All images © Monica Rohan, shared with permission Whether unwrapping themselves from textile folds or balancing atop spindly stools, Monica Rohan’s figures are perpetually in motion. The painter depicts adventurous subjects set amongst whimsical worlds of overgrown bushes, vibrant seas of fabric, and […] More

    • 163 Shares179 Views

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      Nevermore Park Manifests the Fictional Universe of Hebru Brantley’s Flyboy and Lil Mama

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       All images © Amy Lombard, shared with permission Packed within a 6,000-square-foot space on Chicago’s south side is a fictional universe teeming with pinned up newspaper clippings, towers of retro electronics, and tons of vintage advertising from McDonald’s to Vienna Hot Dogs. It’s the world of Hebru Brantley’s iconic characters, Lil Mama and Flyboy, […] More